Stay Out Late is ultimately, the end result of understanding who we are, and more importantly, who we are not.

This will be our 15th year as a band, and our 5th record overall. In the years preceding the making of this record, we all had to define what it meant for us to be happy making music. There are certain mechanisms and tropes we all fall into as a result. And as hard as we may try to emulate what we consider to be higher art, or rather, classic music; we always end up with a Buxton record.

Sergio couldn't write for almost 2 years after 'Half A Native'. The answers to "why" had run dry. We all saw each other, hung out and everything was like normal. I can't really pinpoint the moment it all made sense again. The question had suddenly changed to "why not" and we were back in the studio making demos. There was a lurking sense that nobody would ever hear these songs, and that lead to a sort of creativity I'm not sure we'd really experienced before. All ideas were on the table, and more importantly they stayed on the table.

There are a handful of truly great masterpieces and the attempt of achieving that is one of the most daunting and exhausting pursuits any artist can take on. In the van we're constantly educating ourselves and finding new and in many cases old points of inspiration. Whether it be Mark Hollis, HC McEntire, Mickey Newbury or rediscovering the genius of Bette Midler, we find ourselves at the mercy of our own limitations of expression. Yet somehow in our most vulnerable project, we're simultaneously the most comfortable in our skin as we've ever been.

The core of this record is about being in it for the long haul, looking back, and being able to accept it all.We can only hope that the listener can in some way share and make tangible the joy that went into making this record.

Blue October's 9th album is possibly the best album the band has ever recorded. 11 beautifully crafted and performed songs that showcases the band at its creative best. The first Blue October album produced solely by Justin Furstenfeld. His musical genius shines brighter than ever before.

The Bright Light Social Hour is if you combined Cat Stevens with a bit of Philadelphia Soul, a splash of Stax and a ton of Can. Maybe not? Combine your own list of bands… that would be The Social Hour as long as none of the bands suck. Their new EP, Missing Something, was self-produced, mixed by Jim Eno (Spoon) and mastered by Dave Cooley. Press includes; Huffington Post, Austin Chronicle, Glide Magazine and Remix. There will be regional touring, a campaign at AAA, comm specialty and college radio for "Trip With Lola," and two videos. The LP is 180g, translucent pink vinyl.

New Album from Austin based blues and soul artist Black Joe Lewis & the Honeybears. Follow-up to his 2017 album Backlash, which debuted at number 3 on the Billboard Top Blues Albums Chart. Sonically inspired by the hill country blues of Junior Kimbrough, cowpunk style of The Gun Club, and the southern soul of Stax. Recorded in their hometown of Austin, Texas, with Grammy award winning producer Stuart Sikes (The White Stripes, Cat Power, Modest Mouse)

The brainchild of Matthew Logan Vasquez (Delta Spirit), Glorietta was born of a desire to collaborate with friends that Vasquez has collected over the years. Those friends; Noah Gundersen, Kelsey Wilson (Wild Child), David Ramirez, Grammy-winner Adrian Quesada, and Jason Robert Blum came together over the course of a week in a rented house in Glorieta, NM. "We chose Glorieta because it was isolated enough to feel like we were at camp" said Vasquez, "the only requirements were vaulted ceilings and a jacuzzi. The days were long with the tape running constantly as the players bought songs in various stages of completion to their new family of collaborators. Midway through the sessions the group was joined by a guest appearance from Nathaniel Ratliff, who drove straight through the night to join the party. The result is their self-titled debut record; a beautiful mix of voices from six band leaders, that fit perfectly together.

Blue October's 9th album is possibly the best album the band has ever recorded. 11 beautifully crafted and performed songs that showcases the band at its creative best. The first Blue October album produced solely by Justin Furstenfeld. His musical genius shines brighter than ever before.

Texas' genre-bending rock 'n' roller Israel Nash presents his latest long play, Lifted. It is a modern day hippie-spiritual, a tonic for those needing to put aside the mess of the daily grind. With luscious beds of strings, horns and well adorned towering walls of sound, Lifted finds Nash continuing his tradition of creating a sonic experience of feeling that is at once both vast and intimate -- soaring and untamed at times, placid and sincerely personal at others.

Meshing explosive indie rock with the raw passion of punk and the melodic sophistication of pop, Ume are an acclaimed Austin-based band who've earned a following for their powerful live performances and clever music. They have played major festivals like ACL and Rock En Seine and appeared on Anthony Bourdain’s No Reservations. Other Nature was recorded with Grammy-winning producer Stuart Sikes. Single will be worked at college, AAA/non-comm radio. US tour dates this summer. LP is standard weight, translucent green vinyl.

For the series of sessions that laid the foundation for Willie Nelson’s career and thus changed the course of modern country music, these recordings have been treated pretty cavalierly over the years. But first, a little history…Willie Nelson was a struggling songwriter, hungry for work and maybe even just plain hungry, when he moved to Nashville in late 1960 with his wife and kids and met Hank Cochran, who was a writer for Pamper Music. Pamper, which was owned by country star Ray Price, fiddle player Hal Smith, and a baker (!) from Pico Rivera, California named Claude Caviness, was the hottest publishing company in town, thanks to writers like Cochran and Harlan Howard and songs like “Heartaches by the Number” and “I Fall to Pieces.” At first, Willie wasn’t going to sign with Pamper because Hal Smith wouldn’t give Willie the draw he needed, but Cochran told Smith to front Willie fifty bucks a week from his own draw. So Willie, determined to reward Cochran’s trust, got to work. “I was writing to prove I could write,” he said. “To get the money and feel like I was earning it.” He would end most work days with a new song, and then he and Cochran would call a session with A-team musicians who didn’t have major label studio work that day. The result: a body of work that just may well represent the most fertile creative period ever to issue from a country songwriter. The songs Willie recorded for Pamper during the early ‘60s remain among his most famous, and include tunes he still performs to this day: “Crazy,” “Funny (How Time Slips Away),’ “Night Life,” “Pretty Paper,” “Half a Man,” “Hello Walls,” “Healing Hands of Time,” and more. And these, the Pamper demos, are the first recordings of those legendary songs. In other words, this is what artists and label guys back in the day heard when Hal Smith or Hank Cochran handed over a little acetate, and said, “Hey, listen here to what our guy Willie Nelson just come up with.” It simply doesn’t get much more historic than that! But, for some reason, these demos have hitherto turned up in bits and pieces, mostly on budget packages with little documentation or care. Now, finally, these incredibly important recordings are getting the respect they deserve. Things to Remember—The Pamper Demos brings together these 28 performances for the first time (several of which have hitherto eluded compilation), all remastered by Mike Milchner at SonicVision to sound much better than they ever have, and annotated by Grammy-winning writer Colin Escott, with photos courtesy of Bear Family label founder Richard Weize. Available from Real Gone Music as a CD or a gatefold , red vinyl double-LP limited to 1000 copies, this collection is indispensable for any Willie Nelson fan or any lover of great country music…it’s the first blossoming of one of our greatest songwriters, presented the way work of this stature should be, with great sound and packaging.

DOWNEY TO LUBBOCK was born by immaculate inspiration from live shows Grammy winner Dave Alvin and Grammy nominee Jimmie Dale Gilmore performed together in 2017. Just the two of them were swapping songs and cutting up, each with a guitar and a heart full of soul, musicians who ve been on the road their entire adult lives. The result is an album of blues, rock and folk inspired tunes that both of their fans will enjoy. The album contains 12 songs - 10 covers and two originals - and is destined to be a classic Americana album from two Americana legends.

Vinyl LP pressing. 2018 release. Twenty-eight years ago, pissed-off twelve-year-olds around the universe discovered a new planet, a Black Planet. Public Enemy's aggressive, Benihana beats and incendiary lyrics instilled fear among parents and teachers everywhere, even in the border town of Laredo, Texas, home of the future founders of the Latin-Funk-Soul-Breaks super group, Brownout. The band's sixth full-length album Fear of a Brown Planet is a musical manifesto inspired by Public Enemy's music and revolutionary spirit. Chuck D., the Bomb Squad, Flava Flav and the rest of the P.E. posse couldn't possibly have expected that their golden-era hip hop albums would sow the seeds for countless Public Enemy sleeper cells, one that would emerge nearly three decades later in Austin, Texas. Translating sample-based music to a live band turned out to be more of a challenge than they anticipated. Coming off numerous tours as Brown Sabbath and even a stint backing the late legend Prince, Brownout is arguably the tightest and funkiest band on the road today and they're psyched to bring this revolutionary music to the people. For a band without an overt political agenda, they collectively couldn't resist the opportunity to play this music live, especially now.

Cheyenne Valley Drive is the 3rd studio album (and the first on their brand new label Bud's Recording Services), by Austin's Greyhounds. The band has been aptly described as "ZZ Top meets Hall & Oats" for their blend of gritty guitar riffs, smooth rhythms and soulful R&B. Cheyenne Valley Drive is no exception. Co-writers and singers Anthony Farrell and Andrew Trube mix these elements deftly throughout the 10 tracks. The sessions were recorded and mixed at legendary Sam Phillips Recording in Memphis, TN by Grammy award winning engineer Matt Ross-Spang (Margot Price, Jason Isbell).

After worldwide touring and critical acclaim on 'High Country', The Sword returns with their new album, 'Used Future'. Produced, Recorded and Mixed by Tucker Martine and Recorded at Flora Recording and Playback, Portland, OR.

Fusing bedroom soul with the ambient expanses of shoegaze, singer/songwriter and multi-instrumentalist Curtis Roush explores love and loss away from the purview of his psych-rock band The Bright Light Social Hour. LP is standard weight, black vinyl, includes download card.

Waco native Wade Bowen began recording Solid Ground intent on making the artistic statement of his career - a high bar considering the twenty years of success he's enjoyed - but as his personal odometer rolled over into his fourth decade, his focus is more on legacy than next Saturday night. Solid Ground is personal but not necessarily autobiographical, peppered with distinct south-of-the-border imagery and good-time revelry.

Their name of their collaboration comes from an exit sign along Interstate 55 in Arkansas that says, "Marie/Lepanto." That exit sits about halfway between where Kinkel-Schuster grew up in Arkansas and Johnson's childhood home in Missouri. Alternating between the lo-fi folk of Kinkel-Schuster's recent solo work and a distorted indie rock that recalls Johnson's work in Centro-Matic, this debut album, "Tenkiller" finds their two voices shadowing one another, with Johnson’s battered vocals and Kinkel-Schuster’s wavering tenor complementing one another.

The Lone Star-bred collective, The Texas Gentlemen, takes its cues from some of the iconic acts of the past — the quicksilver brilliance of The Wrecking Crew and Bob Dylan’s one-time backers The Band are the most obvious examples. Founding member, Beau Bedford, who shares chief engineering and production responsibilities at Dallas’ Modern Electric Sound Recorders, assembled The Texas Gentlemen as an all-purpose backing band for an eclectic array of singer-songwriters, including Leon Bridges, Nikki Lane, Jonathan Tyler and Paul Cauthen. That deft fusion of what came before with what is right now develops through the members’ unswerving dedication to simply play to the best of their abilities, trusting their instincts, and letting the music guide them. Case in point: TX Jelly was created in less than a week — four days, start to finish — at Muscle Shoals’ singular FAME Studios. Pared down from the 28 songs the Gentlemen recorded in that 96-hour span, TX Jelly effortlessly connects way back to what’s next, summoning the spirits of American songcraft even as it heralds the arrival of 21st century talent. Cut live, with little use for the blinding polish and careful presentation of so much modern music, TX Jelly oozes with skill backed up by that hard-won authenticity. TX Jelly moves between contemplative and raucous, encompassing the full breadth of the American experience. The music touches on blues, soul, folk, country, rock and gospel — from first track to last, you can feel The Texas Gentlemen reaching deep inside themselves and finding what’s genuine — what illuminates the truth of the country’s rich, complicated and singular artistic history — and delivering it the only way they know how: real, raw and righteous.

Whether or not you subscribe to the adage that the devil always has the best music, you can take it on faith that anytime he pops up from a cameo in a Ray Wylie Hubbard song, the results are gonna be pretty damned entertaining. And as any fan of the Hubbard cannon knows, Old Scratch pops up in his songs a lot nearly as often as all of Hubbard's wise-cracking black birds, lyrical and musical nods to Lightnin' Hopkins, bad-ass women (usually Hubbard's own wife, Judy), and a myriad of other grifters, ruffians, and scrappy cats of the gnarly and general lowdown variety. Somewhere or another on just about every Ray Wylie Hubbard album, the devil gets his due and he's now even worked his way up to the top billing on his acclaimed songwriter's latest, Tell the Devil I'm Gettin' There as Fast as I Can.

2017 release. Don't bother asking The Mastersons where they're from. Brooklyn, Austin, Los Angeles, Terlingua; they've called each home in just the last few years alone. If you really want to get to know this husband-and-wife duo, the better question to ask is where they're going. For the last seven years, The Mastersons have kept up a supremely inexorable touring schedule, performing as both the openers for Steve Earle and as members of his band, The Dukes, in addition to playing their own relentless slate of headline shows and festivals. Written in a slew of different cities around the world, the band's new album, Transient Lullaby, out May 19, 2017 on Red House REcords, is a late-night collection of subtle, evocative performances that showcase the itinerant couple at their absolute finest. Musically, the album is rich with intoxicating harmonies that float above Eleanor Whitmore's stirring string arrangements and Chris Masterson's adroit guitar work, but it's the deeply personal songwriting that always manages to steal the show.

The 12-song Step Into Light, on Fastball's own 33 1/3 label, embodies all of the qualities that have endeared Fastball to listeners during the trio's twenty-year-plus career. Such catchy, compelling new tunes as "We're On Our Way," "Behind The Sun," "Best Friend," "Love Comes In Waves" and "I Will Never Let You Down" continue the band's longstanding legacy of infectious songcraft and pointed lyrics, as well as playfully inventive arrangements that lend additional depth and resonance to Scalzo and Miles Zuniga's distinctive songwriting. Fastball recorded Step Into Light in its hometown of Austin, Texas, with the three bandmates co-producing with longtime friend Chris "Frenchie" Smith (Slayer, Meat Puppets, ...And You Will Know Us by the Trail of Dead) at Smith's studio, The Bubble. The album was mixed by legendary engineer Bob Clearmountain, who also handled mixing duties on two prior Fastball albums.

The music industry sees artists come and go on a regular basis. Plans change, life gets in the way and bands fade away. Occasionally we’re lucky enough to see an important band return from their silence: enter At The Drive In. While At The Drive In was quiet, the members (Omar Rodriguez-Lopez, Cedric Bixler-Zavala, Tony Hajjar and Paul Hinojos) were incredibly busy, selling millions of albums, winning Grammys and putting out a lot of quality music with their other projects (The Mars Volta, Antemasque, Gone Is Gone and many more). After a 15 year break, the band returned to the studio to create the follow-up to 2000’s Relationship of Command. It’s the moment fans have been waiting for since their return to the stage as 2012 Coachella and Lollapalooza headliners…prepare for in·ter a·li·a. Produced by the band’s own Omar Rodriguez-Lopez and Rich Costey (Muse, Sigur Rós, Santigold), in·ter a·li·a includes eleven songs that resonate the classic At The Drive In intensity that fans love, while breaking the band’s 15-year drought with something fresh and exciting, that slides right into 2017. Their impressive catalog has earned At The Drive In positions on the Billboard Top 200 chart, spots on various “Greatest Albums” lists, and performances on David Letterman, Jools Holland, Conan O’Brien and more. This album is sure to provide nothing less. The band will be touring throughout 2017 to support this release, as well as perform on late night television. The silence is finally broken…resume transmission.

'God's Problem Child' is Willie s first album to debut all-new songs since 'Band of Brothers' in 2014. It includes 13 new songs, including seven recently written by Willie and Buddy Cannon, his longtime collaborator and producer. The album's title track, penned by Jamey Johnson and Tony Joe White, includes vocals by both writers and the legendary Leon Russell (on what may be Russell's very last recording). Closing the album is "He Won't Ever Be Gone," a song written by Gary Nicholson that pays tribute to Willie's outlaw country comrade, Merle Haggard.

The Black Angels – Austin’s psych rock masters – have confirmed details for their upcoming album, ‘Death Song,’ This will be the five-piece’s first full-length release in four years. Written and recorded in large part during the recent election cycle, the music on ‘Death Song’ serves as part protest, part emotional catharsis in a climate dominated by division, anxiety and unease. “Currency,” a strong contender for the heaviest song the band has ever put to wax, meditates on the governing role the monetary system plays in our lives, while slow-building psychedelic earworm “Half Believing” questions the nature and confusing realities of devotion. Recorded between Seattle and Austin, ‘Death Song’ features production from Phil Ek (Father John Misty, Fleet Foxes, The Shins). The 11-track collection offers a sharply honed elaboration on their signature sound - menacing fuzz guitar and cutting wordplay, steeped in a murky hallucinatory dream. Since forming in Austin in 2004, The Black Angels have become standard-bearers for modern psych-rock, and the New York Times has said they “play psychedelic rock as if the 1960s never ended, and they are absolute masters of it”. The band has toured with Queens of the Stone Age, Brian Jonestown Massacre, the Black Keys + more, and played festivals such as Glastonbury, Fuji Rock, Primavera, Harvest Fest, Coachella and Bonnaroo. Two of the band members co-founded Levitation Festival (formerly Austin Psych Fest) in 2008, which has since grown into one of the best-reviewed and expertly-curated festivals in the country.

In the tight-knit musical community of Austin, Texas, it's tough to get away with posturing. You either bring it, or you don't. If you do, word gets around. Praises are sung. And one day, you find yourself performing a duet with Bonnie Raitt in a documentary, or standing onstage with the Allman Brothers at New York's Beacon Theater, trading verses with Susan Tedeschi. You might even wind up getting nominated for a Best Blues Album Grammy three times in a row. In addition to your six Female Artist of the Year/Koko Taylor Blues Music Awards. For ''Joy Comes Back,'' Foster wasn't merely singing about love and loss; she was splitting a household and custody of her 5-year-old daughter. Music was her therapy. In the warm confines of Austin producer and former neighbor Daniel Barrett's home studio, she found a comfort level she'd never before experienced while recording. It gave her the strength to pour the pain of her family's fracture and the cautious hope of new love into 10 incredible tracks, nine of which are by a diverse array of writers from Mississippi John Hurt, Sean Staples and Grace Pettis, daughter of renowned folk singer Pierce Pettis, to Chris Stapleton and Black Sabbath. Yes, Black Sabbath; Foster reimagines ''War Pigs'' as a jam session with Son House. She also covers the Four Tops ''Loving You Is Sweeter Than Ever,'' written by Ivy Jo Hunter and Stevie Wonder.

’Hot Thoughts’, Spoon’s 9th album, is the bravest, most sonically inventive work of their career, though keep in mind, Britt Daniel’s already overseen a number of other reincarnations. With all due respect to earlier efforts that have made the quintet both critically acclaimed and a commercial contender, preconceptions about this band are about to be obliterated. That’s not to say ‘Hot Thoughts’ doesn’t have a requisite supply of infectious earworms but there’s a lyrical bent that’s as carnal as it’s crafty, and a newfound sense of sonic exploration that results in the genre-smasher Spoon have flirted with in the past but not fully consummated. Produced by Dave Fridmann (Tame Impala, The Flaming Lips, Weezer, MGMT) and back with Matador (third time’s the charm) helps position Spoon to mount the highest highs of their already spectacular career. We are overjoyed to be back in the Spoon business and in time for Daniel’s spot in the pantheon of rock’s genius songwriters was well established a ways back — with the crackling, incandescent, multi-dimensional backdrop conjured on ‘Hot Thoughts’, the lines between accessible and experimental become non-factors for once and all. It’s pop as high art, delivered with total confidence and focus.

Back when music was only available on a vinyl album, the pure excitement captured on a live album was considered the ultimate document coveted by hardcore music fans. Clark continues this tradition by bringing the live album to a younger generation of music fans. Live North America 2016 was recorded absolutely live, with no overdubs. What you hear is how it went down.
The album includes all new and unreleased live recordings from Gary Clark Jr's 2016 tour in support of his internationally acclaimed 2015 album The Story of Sonny Boy Slim. It features several songs from that album, including "The Healing," "Grinder," "Our Love," "Cold-Blooded," and "Shake," featuring Leon Bridges and his saxophonist Jeff Dazey. The set is characterized by raw soul and funk, classic solo and blues performances, and severallengthy, tour de force guitar jams. It includes two previously unreleased covers, Jimmy Reed's "Honest I Do" and Elmore James' "My Baby's Gone" as well as "You Saved Me" and "When My Train Pulls In" - fan favorites from Clark's Warner Bros. Records critically praised debut Blak and Blu.
Clark's incendiary performances were also beautifully captured on Gary Clark Jr. Live, which was released in September 2014 and met with tremendous critical and commercial acclaim. Both live albums chronicle Clark's evolution on stage as his songs expand and find new life beyond the studio recordings. Much like the great blues, jazz, and soul legends of past, these recordings are lightening in a bottle - historical moments in time for an artist who is ever-morphing and one of the truly great improvisers of his generation and our time.

In 1996, the Old 97 s recorded Too Far to Care. It was their major-label debut after the band signed with Elektra Records. But rather than venture into some state-of-the-art studio in New York or LA, the band decamped to Village Productions in Tornillo, Texas, a remote facility in the middle of two thousand acres of pecan trees near the Mexican border. The sound that the group captured on Too Far to Care has remained a touchstone for them. We ve always held that one up as the closest to sounding exactly like what sets us apart from the rest of the world, says Rhett Miller. And so when it came time for the Old 97 s to record the follow-up to the highest-charting album of their career, 2014 s Most Messed Up, producer Vance Powell brought up the idea of returning to Tornillo. We knew instantly that it was the perfect move, says Miller. The result is the eleven songs of Graveyard Whistling, the eleventh studio album from the Old 97 s.

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